이상원
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Oh Se Yeol
 UntitledMixed Media 130 x 162cm 2018 |  UntitledMixed Media 162 x 130cm 2018 |
|---|---|
 UntitledMixed Media 73 x 51cm 2015 |  UntitledMixed Media 67 x 46cm 2011 |
Education
1974 Graduated from Chung-Ang University Graduate School of Arts
1969 Graduated from the Department of Painting at Seorabeol University of Arts
Solo
2021 Metaphor Island, Hakgojae Gallery, Seoul
2020 Beyond Memory, Daegu Shinsegae Gallery, Daegu
2017 Snow, Hakgojae Main Building, Seoul
Haden Museum, Gyeonggi Province
Implicit Semiotics, Hakgojae Gallery, Seoul
2016 Level of Memory, Hakgojae Gallery, Shanghai
Art Issue Project, Taipei
Level of Memory, Fonton Gallery, London
Level of Memory, Korean Cultural Center, Brussels
Level of Memory, Korean Cultural Center, Paris
2015 Oh Se-yeol - New, Bodu-Anglebong Gallery, Paris
2008 Samteo Gallery, Seoul
2000 Saemteo Gallery, Seoul
1997 Yehwarang, Seoul
Etc.
Group
2022 Oh Se-yeol, Lee Ji-hyun, 2 people, Lee Gong-lally, Daejeon
2021 New Collection 2017-2020: Continued Worlds, Gyeongnam Provincial Museum of Art, Gyeongnam, Changwon
2019 Blue Blue, Choice Art Company, Seoul
The Forest, Gallery, Joeun, Seoul
2017 Oh Se-yeol & Kim Dong-yu Priesthood Exhibition, Gallery Jo Eun, Seoul
Props, ROCKHEE. Thank you! 2017 Exhibition. Gallery, Joeun
Galleria Leone, Seoul
2015 Initiative and Awareness, Art Issue Project, Taipei
Etc.
Awards
1976 3rd Korea Daily Art Awards, Best Award
1972 Spherical Symposium, Gold Prize
1971 Spherical Symposium, Gold Prize
1969 Conception, Silver Award
1965~1980 Korea Art Exhibition, Special Selections(5 times), 9 Winnings
The skin on the screen is very flat, but on top of it, paints and objects inhabit like living things. Various marks of the artist are scattered such as grass or stones. They combine strangely and create a fascinating work. With a mixture of paintings, collages, objects and sculptural acts, scribbles and pranks roll on the surface as they please. This formative act, which relies on chance and spontaneity, circulates in a chain ring. Numbers are constantly and repeatedly written, and lines and symbols that cannot be self-contained by themselves appear everywhere. Between them is a collage with the shape of flowers and birds. Small everyday objects are secretly and carefully settled around it. Pictures, collages, and objects coexist on the surface, atomizing differences. The desktop itself, which is already the background, is solid, rich traces of physicality, and the process of distant time and weathering, leaving almost a fragment of objectified skin, so everything on it seems inevitably pushed out, naturally cutting from the bottom. It is a painting that is not separated from the surface and a painting that constantly creates a conspiracy relationship of content and formal connection with it using the base as a support.